Year book of motion pictures (1951)

FOREIGO FILM MUm ★**★*★**★★*★*★ **★*★★****★★★* By J. C. PRIORE Staff Writer, THE FILM DAILY HE PORTENDING SHADOW OF FUTURE EVENTS on the international film horizon based on events of the recent past indicate that future growth, development or expansion of the foreign market for American celluloid entertainment must face up to the postwar reaction. In the past four or five years the countries deprived of U. S. films have been on the receiving end. American distributors and their agents abroad have dumped a considerable number of pictures into Italy, France, Germany, Japan, and Austria, in addition to such other troublous spots as Bulgaria, Rumania, Hungary, Czechoslovakia and elsewhere. Now in a strong state of native recovery, the film production exliibition and distribii tion units in three major marl^ets: Italy, Germany, and France, are once again face to face with outside competition and, in order to survive in the home market, have planned the foundation for restrictive measures, in some instances curtailing, or planning to curtail, foreign playing time on home screens to half of the latest boom period. Aljo figure into this line of potential reaction the gravity of the international situation, the Western Europe union of nations and their defense commitments, all of which take money and the funds deri\ed from entertainment are readily applicable. Marshall Plan financing faces wide diversion. But locally, stateside, returning observers of the international scene were enthusiastic about the future of U. S. pix abroad and felt that business in 1951 would continue on the upswing with greater flexibility for the conversion of balances into dollars. Industrious application by production interests in the major European countries has seen the emergence of competition that has mounted in importance. Where Europeans are interested and, at times, quite delighted with .American life as it is viewed by the lens, it also stands that they want pictures in their own tongues and there arises the matter of immediate demand and supply. It all amounts to reciprocity. Late last year the optimistic note sounded was to the effect that there would be unrestricted imports of U. S. films into West Germany. Voluntary restrictions limited the control number of pictures destined for German screens to 150. However, a financial analysis of the trend of times, and the growing home feeling which seeks the end of Hollywood domination of playing time, offers as an argument basis the fact that American interests have amassed something beyond $10,000,000 in marks. This is considered a dangerously high figure in relation to the Federal Republic's economy. And a quick take at new German production figures brings out that in 1950 there were 77 features produced in the Western portion of the country, a healthy sign of recuperation. Latest Italian policy being prepared for presentation to foreign operators in that country was being constructed along lines of absolute reciprocity and the move affecting the film industry was considered in line with the Italian Government's instructions to all industry to expand eff:ort for the Western defense mobilization effort. The Italians have reached independence in film production it was made known not too far back. Able to turn out 100 or more features a year they also desire world distribution of their product and are also willing to make interesting profit offers for outside handling. Spain made its bid in the European picture recently. A survey issued in Madrid gave detailed facts, figures and facilities in that country which could attract outside capital and thus laiuich another competitive geographical location into the field. A top picture can be produced in Spain, it was shown, for ,|400,000. AW sorts of interesting concessions were listed, labor laws were to be lenient and out'ide participation would find the country amenable to all requirements. Spain, too, seeks the world market for its output and the angle pointed up was the eventual development of the home industry by outside investment. Said investment would take the form of re-equipping existing studios. The trend to watch is reciprocity. 123